One night last December, Jaden Duong drove a rented van to the premises of the Australian “Christian” Lobby (ACL) in Canberra. In the van were four LPG gas cylinders. There was a fire/explosion, causing substantial damage to ACL’s offices. It can’t have taken the police long to find Duong – suffering severe burns, he had walked 4km or so to Canberra Hospital. He told police he had been trying to kill himself.

Lyle Shelton, the head of ACL, rushed back from his holidays. He tweeted that he was shocked that things could come to this in Australia. There was more about how violence was being incited against ACL by opponents calling ACL bigots etc.

Police, who had spoken to Duong, hastened to reassure the community that they were satisfied that this was not a terrorist incident. The basis for this appears to have been their own assessment of Duong and his statements to them that his primary motive had been to kill himself and that the choice of location was subsidiary – though in fact there was some material pretty early on which indicated that Duong was unhappy about organised religion and ACL.

Duong spent some months in hospital (including for mental issues) in Sydney. It wasn’t until June 2017 that he first appeared in court and his identity was disclosed to the world.

Straight away, what the Chinese call the “human flesh” engine got to work. They were interested in depicting Duong as a “SJW” (that’s “Social Justice Warrior”) at whose hands ACL were being victimised. They wanted to establish that the ACT Police were giving Duong a soft ride.

Duong had spent some time in San Francisco in about 2014 when his partner was working there. He did some volunteer work for democrat politicians and a cat shelter; he appeared in a gay fundraising Mr Gay Asian and Pacific pageant; he welcomed the striking down by the US Supreme Court of the Defence of Marriage Act. It looks as though he was doing volunteer work because as a gay partner he couldn’t get a working visa.

Back in 2003 or so Duong had also made a comment about gay law reform which was published in the SMH.

That’s about it, but on the strength of this the Murdoch press followed up this narrative, describing Duong as a “gay activist.”

If you find opinion pieces by someone, even if only 2 over 15 years, I guess you could say they are an activist. After all someone who writes for News Limited/News Corp is a journalist.

Here’s a sample of the Catallaxy forum from 7 June when Duong’s name was first released and the human flesh engine unleashed. Leigh Lowe is a particular charmer.

Look, let’s not jump to conclusions.
It could be that the court might just be trying to spare Duonger some embarrassment.
Maybe he was found in leopard print leggings with red stilettos or some other ghastly ensemble that any self-respecting poove wouldn’t be (cough) found dead in.

And picking up on this found material:

Jaden Duong, an Australian living in San Francisco, welcomed the high court’s decision on DOMA.
“My partner’s here in the U.S. for work,” he said. “I’m here on a tourist visa indefinitely because of DOMA. Now they have to recognize us … which means his work visa includes me.”

to say

Jaden (WTF?) appears to be front and centre everywhere.
The volunteer work is explained by the fact that his partner was in the US for work.
I wonder if the partner had a gummint posting? If so, if he is hooked up with someone who tried to commit a terrorist act, both Duonger and the partner may appear on DHS watchlist, and both may be banned from travelling to and working in the US.
Just wait for some screaming fag to bung on a Mem Fox if detained at an airport and you night have your suspected boyfriend.
Look, I am prepared to acknowledge the possibility that … and I know this sounds crazy … that Duonger was a common-or-garden drama queen, who was approaching (OMG!) his 40th birthday, maybe had a series of failed relationships in quick succession, and decided to top himself.
It’s just that blowing yourself to bits in a van doesn’t scan like a typical drama-queen suicide MO.
Whatever, there is no excuse for brushing it under the carpet. The AFP’s rush to call “nothing to see here” whilst the Duonger hadn’t even been interviewed is suspect to say the least.

Duong had another court date in August and then last week. Each date was the occasion of a fresh dose of the Newscorp treatment describing him as a gay activist. Duong pleaded not guilty on account of mental impairment. It’s clear that police (who despite the Newscorp and altrite commentary, are not softies about this sort of thing) recognized Duong had mental difficulties. The press commentary trawled through court papers and snippets of remarks in the hearings to build up the contrary picture, in simple terms, that Duong was bad, not mad, or at least bad enough and not mad enough to be responsible.

On Sunday Duong, aged 36, was found dead. There were no suspicious circumstances.

It’s something of a topic du jour, what with the suggestion that ACT Senator Katy Gallagher might be Ecuadorian because her British mother was born there in 1943, or Barnaby Joyce’s statement that he considered himself to be a “fifth generation Australian.” This is presumably on his mother’s side unless his father’s forebears went to NZ from Australia.

Still, “fifth generation” – that’s impressive, isn’t it? It means – well what does it mean? Leaving indigenous people aside, if your grandparents all came here from somewhere else and your parents were born here, who is the first generation, and are you the second or the third?

The answer appears on the basis of a little internet research to be the latter, and I’m hazarding a guess that, where ancestors came here in different generations counting back, the claim is made on the basis of the earliest generation and hence biggest number.

On Saturday to hear/see the Australia Ensemble at UNSW for a program entitled “The Sound of Pictures.” It featured Andrew Ford as presenter and a focus on film, film music and concert music by composers who also wrote film music.

When this year’s season was announced last year I mentioned my misgivings about this program. P, my usual companion to these concerts, had her own and stayed away. D came instead.

It’s a packed program, but the list is incomplete, because at the start and then between every item we got some thoughts about the music, about film and about film music from Andrew Ford. He’s a more than competent presenter, but that’s simply too much talking. If I want that sort of thing, I will read his book or listen to his radio program.

The moment which summed this up for me came at the end of the excerpt from Hamlet – the arrival of the players followed by ‘To be or not to be.’ An atmosphere was set, including (if a little indistinctly in terms of sound quality) by Shostakovich’s score; the piano quintet was waiting expectantly below the screen ready to play the Scherzo. Couldn’t they have just played it? No, something more need to be said as Andrew signed off for the night. That might be right for radio but it wasn’t right for a concert. Not for me, anyway.

The two most interesting pieces in the program were Ford’s and Felicity Wilcox’s. Even then I it’s a conflicting experience. What should I watch? The musicians or the screen? What does the live performance add? I’m prepared to think about that a bit more and Wilcox in particular took this issue by the horns with her “Composer’s Cut.” Dispiriting to think that rights for the film were obtained on the basis that there would probably be only one performance.

Apart from the bits of Shostakovich (which suffered on account of their isolation), otherwise the Hermann fared best. Benjamin’s Pimpernel suite never really rose above 1930s historical pastiche – and why should it have? Nino Rota is a fluent composer. Are we surprised?

Yesterday at D’s insistence and with him I did my part and went to the marriage equality rally in town. There was a festival atmosphere on the train as we headed in with about 15 minutes to spare before the advertised start of 1 pm.

The last demonstrations I went to were the marches that broke many Australians’ heart – the big ones in 2003 against the invasion of Iraq.

The worst thing about such rallies is that practically every member of the organising coalition, and then a few more, has to have someone up there giving a speech. This can really try one’s patience. There is also the problem that in such a coalition on one issue, people will want to push the envelope out to the corner of their particular concerns. Mostly I was with them at every corner and suspicious bulge to the package, but in the light of the “No” case campaigners’ attempt to make this postal opinion poll about every other issue than marriage of people not of a different sex, it would have been prudent, in my opinion, to keep things tight.

Bill Shorten gave a speech where he managed to reference “Climb Every Mountain,” “You’ll never walk alone,” the parable of the Good Samaritan and the St Crispin’s Day speech (those not here today will wish they were and say they were.) There were probably more references that I missed.

So we stood out the speeches and after a longish wait to decant from Town Hall Square, headed along Park Street, Elizabeth Street, Phillip Street, Bridge Street and Young Street to Circular Quay where we were told Pauline Pantsdown had taken the stage in front of Customs House. We didn’t actually see her as the square was pretty much full to capacity and we took the opportunity to catch a train home while we still could – just after 3.30.

It felt like a big rally to me so I was a bit peeved that it only ranked No 3 in the evening news. In some cases the rally was coupled with coverage of Malcolm Turnbull attending his own tame (I doubt if a single non-coalition-apparatchik gay person was in attendance) Liberals & Nats forum for the Yes campaign. As if Malcolm’s do was in any way comparable to tens of thousands of people on the streets. Also a bit rich and doubtless calculated of him to hold it on this day.

I found myself immersed in a terrible emulatory hardness of heart waiting for “our” story to reach the screen: how dare those pesky Hurricane Irma types (No 1, though with predictably much more attention to the yet to suffer Floridians than the already devasted Cubans and Martinians) or Mexican earthquake victims vie with our just cause for attention?

There were lots of colourful costumes. My favourite was more subtle – a t-shirt in the style of an old pale blue Penguin paperback cover worn by a gent, about my age. The book title? An Ideal Husband by Oscar Wilde.

In recent years there has been a proliferation of cinema screenings of live theatre events. Probably the Metropolitan Opera was the first big player, but since then they have been joined by others. In their countries of origin, these have been done as “live” screenings. Here in Australia we have to be content with delayed screenings.

Whilst these screenings have their limitations, I have generally enjoyed the ones I have gone to. They give a better account of a live art form than screen adaptations of plays or “filmed” (mostly mimed) operas. I would go to many more of these than I do if they were not nearly always scheduled for (generally weekend) daytime screenings. Even though my present office is well lit, the proverbial dingy little office of the working week hangs over me. Especially if the weather is fine and sunny, it seems wrong to turn my back on it. Call me Clancy – even if what usually happens on a weekend is that we sleep in, faff around (mostly inside) the house on weekend domestic chores, and only manage to sally forth, if at all, in the late afternoon.

So it took some effort to leave a glorious day behind me last Sunday in favour of a noon screening of Moliere’s Le Misanthrope, from the Comédie–Française.

The misanthrope of the title, Alceste, is a man who is disenchanted with the world and with people and brings difficulty upon himself by his desire only to be sincere – which includes always to tell the truth to others. This has already brought him into strife; more follows after he takes up the invitation to give his true opinion of Orontes’ verses. Alceste has fallen, unwisely one might think, for a young widow, Célimène, who has a converse tendency to insincerity, including when in company to offer her adverse opinions of “absent friends.”

There’s got to be a lot you miss when you see a play in a foreign language. You are pretty much a swine in the face of any verbal pearls. It was only at the scene – in this production played out over a meal, where Célimène gives a series of cutting character-sketches (known, I suppose to every French school child, as ‘the portrait scene”) that I suddenly realised they had been speaking in rhyming verse all along. That’s a turn-up for the books from the usual situation.

By the time I got out, at about 3.30, the glorious weather had clouded over. Still, I was very glad I went. At a “culture vulture” level, it was good to have seen such a famous play. There is usually good reason why such plays have earned their fame and this was no exception. There was much food for thought. It was also a very handsome and striking production.

This year I have been reading a bit of literature in translation. It is rather shocking how many even quite famous foreign-language works are almost totally inaccessible and certainly out of circulation in English.

Some of the themes and approaches of the play are familiar – it would be odd if they were unique. In the alternative title to the play (“The Splenetic Lovers”) and the sallies between Alceste and Célimène, there are reminiscences of Beatrice and Benedict. Reviews of this production have battened on its delivering a “Chekhovian” version of the play.

In the course of the play, some business is made of a piano on stage. Alceste tinkers at it from time to time, bending over the keyboard and playing in a most peculiar way. The picture above does not really fully capture it but gives an idea. Interviews with director construct a psychology for Alceste as alienated and depressed. It turns out the piano-playing style is a nod towards Glenn Gould as a modern type of misanthrope.

My attendance at live events, generally musical ones, has declined in the last couple of years, but there was a bit of a breakout this month. I record it briefly below

1. SSO – Mozart – Wispelwey 10/8

On the day the SSO released its 2018 season, to Angel Place to hear the SSO with Wispelwey – the last of the Haydn “times of the day” symphonies (obviously, Le Soir) and one of the cello concerti. A Mozart wind serenade and an arrangement of a movement of the Elgar Cello Concerto (as a mystery encore – departing from the tradition that these are usually by Mozart) made up the program. As I write the concert is still available online .

I found I knew the Haydn better than I expected to and realise that it was on one of the relatively few LPs we had in my early teen years – probably the one pictured above. That could be why I enjoyed it the most, though I also enjoyed the symphony – with some especially striking flute moments as well as Haydn’s frequently rather high horn lines. The Mozart didn’t quite live up to expectations, perhaps because, in advance, I had been thinking of the Gran Partita.

2. Gnarly Buttons – SSO Carriageworks 13/8

This was the first of the SSO’s concerts this year at Carriageworks. An irresistible bargain at $35. The novelty of Carriageworks and its groovy toilets has yet to wear off. I feel such a hipster just going there!

I had heard the title work earlier in the year played by David Griffiths with the Australia Ensemble. It wasn’t quite so striking the second time around, mainly I think because of the venue. Bay 17 at Carriageworks is large and cavernous and features industrial strength ventilation which figuratively speaking has the musicians wading around in a brownish kind of white noise up to about their midriffs. In addition (though in fact the noise could well have been the culprit in a large degree) I didn’t feel that Francesco Celata managed to bring to the clarinet part the kind of wild freedom that daring that David Griffiths managed for the AE.

The background noise was not a problem for Kate Neal’s The Valley of Lost Things, which was for a larger ensemble – more of a small orchestra. This had a very diverting kind of rush-all-over-the-place feel. Towards the end I was getting a little worn out by it and external thoughts intruded and then it ended. I sort of thought it had gone on a bit long; someone else felt it was only just getting started. The composer’s notes suggest it was written as an interlude (which seems a bit extravagant), so perhaps development was not really in mind.

The highlight of the concert for me was the Boulez explosante-fixe…. This featured a differently constituted orchestra and three amplified flutes one of which was treated to various electronic manipulations. The principal flute from the St Louis Orchestra was flown in to take this part. There were some strange sounds that a friend afterwards told me were amplified/delayed key-slapping.

For once I did not begrudge David Robertson his irresistible urge to speak as he gave us a bit of background: Robertson conducted the first performance of this version of the work (it came in a number of iterations over the years) in 1993.

I couldn’t of course hum a tune from this, and I’m even not sure how I could describe it as “music” – though it is definitely more “music” than the sort of novelty promoted by Jon Rose. Actually it was music and there was an emotional arc, but my memory of that aspect of it has faded. What I remember now was the engrossing and delicious sounds – in the way that, for example, harps and bells are delicious – music and sound that I just wanted to lean forward into like swimming into water of just the right cool temperature on a hot day. Give me more of it until I have excess!

3. Parsifal 14/8

Whilst the Opera Theatre has been closed, Opera Australia have had a number of special events. This was probably the most proclaimed – bringing super-tenor Jonas Kaufmann to Sydney in the title role.

I resisted at first the hype and the prices: it would cost me $395 (less a subscriber discount) to secure a seat of the quality I usually enjoy in the SOH Concert hall for SSO concerts. At the last minute I secured a rather distant but at least affordable ticket. Once you factor in the length of the performance, seats at this price were not such bad value and if I had chosen earlier or even more wisely I could have got one closer up, albeit at the side in box D. I now regret not responding to the shocking prices by confining myself to cheaper tickets but allowing myself more than one go.

Parsifal was my first exposure to Wagner. Not the opera itself, but the Prelude/Vorspiel which featured in the opening of Simon Gray’s Otherwise Engaged, which I saw at the Old Tote in 1976. Later that year I bought a highlights LP of the Solti recording from Rowe Street Records. I thought as a result that I knew it, but little did I know. The first act and all of that business with the swan being killed seemed positively interminable when I went to the concert performance conducted by Charles Mackerras in 1977. This year’s were the first live (and still concert) performances in Sydney since then. How could I have contemplated staying away?

It took me most of the first act to get used to sitting so far away and to adjust my expectations of the detail of sound you can hear in a singer’s voice. The first act still seems to drag on a bit – by the time Gurmenanz is asked to reminisce about how Titurel and Klingsor knew each other, I was ready to say “Enough already! We can look that up for ourselves.” I suppose I hadn’t yet settled into that Buddhist time-space groove. As a former piano teacher said to me at interval – you just have to enjoy the music. – Why should I want it to pass any sooner?

Nothing much really happens in Parsifal so on one level it is a good candidate for a concert performance. Of all the acts it was probably the first which suffered the most from the lack of staged religious ceremony. There’s a bit paradoxical so far as religious stuff is something I am pretty resistant to, even if we are to accept that we are being shown it in an anthropological way rather than being required to participate in it ourselves. Wagner’s motives and sincerity when it comes to the religiosity of Parsifal are vexed point as are so many issues when you start contemplating Wagner as a person.

Such is the imprinting effect of recordings that the bits from that highlights record are still the bits I know and consequently like the best.

I enjoyed the second and third acts more. It probably helped that a few fidgeters near me had gone home. The other thing that helps is that the music begins to weave its magic more once the expositional groundwork has laid by the first act in terms of motivs etc. The point at which Amfortas desired to follow his father to death was just achingly sad.

Obviously expectations of Kaufmann in the title role were high. These were met; the word on everybody’s lips at interval was Kwangchul Youn as Gurmenanz. It was great to hear the AOB Orchestra out of the box and up on the stage.

I’m glad I went after all.

4. SSO, Bruckner, Beethoven, Young, Cooper. 18/8

The next Friday again to the SSO, this time at the SOH to hear Imogen Cooper play Beethoven 2 and Simone Young play Bruckner 5.

I wasn’t so crazy about the Beethoven and tend to agree with Zoltan Szabo’s comments here. There was much more to the Bruckner. This had not been performed by the SSO since 1984 and that was only their second performance (the first was in 1977). On reflection, this is probably not so surprising. The fifth symphony is sometimes accounted Bruckner’s first mature work and indeed he didn’t get to hear it himself in his lifetime. I feel as though the fourth comes round relatively often, but I expect the 5th is jostled aside by the more popular >5 ones.

5. Australia Ensemble – 19/8

With my friend and former piano teacher, P, to this. On the way a shocking experience as we drove through what I could only think of as the Desolation of Smaug at the southern end of Sydney Park where the Westconnex works have started. Things aren’t much better on ANZAC Parade and High Street with the preparations for the light rail, which has also been attended by wanton destructions (elsewhere) of trees. P and I grumbled to each other about the decision to buy big trams for this line, which has made the track more unwieldy and will mean services are less frequent. When will the powers that be get it that frequency is the critical thing for public transport for which people will be persuaded to abandon their ownership of cars? Mutter mutter. We needed cheering up.

Mark Grandison described his first-half closer as based on a “triple pun” but as far as I can see it was really a single or just stretching it double pun on riff, action and refraction. It was lively but I felt the violin only got a bit of a late look-in.

The Dring was written for her oboist husband, Peter Lord, who premiered it with William Lloyd and Andre Previn (this must have been an LSO connection). I reckon the oboist got the best tunes, especially at the start of the second movement, where there was a tune (at about 3:25) which definitely gives me a reminiscence of something else. The piano writing struck me as rather unimaginative by comparison.

The Roussel was delightful and the “find” of the evening for me.

I am having a bit of a Schubert craze at present (struggling through D568) and so was feeling particularly receptive to this and enjoyed it greatly.

6. Imogen Cooper – 21/8

This was part of the SSO’s International Pianists series at Angel Place. IC has a strong following and it was very well attended. The program was

I sat first behind Ms Cooper (looking over her left shoulder from the gallery – what I like to think of as the piano teacher’s spot). For the second half I moved to the body of the hall – simply because I could and because the temptation to move to a more expensive seat was irresistible. In hindsight, this was a mistake as I would have been better off where I started for the effects in the Adès (held notes; harmonics; fast repeated notes). Quite effectively, even if this was partly because people couldn’t be sure when the Adès finished, this turned retrospectively into an old fashioned kind of prelude as it segued to Op 110.

7. Sydney Chamber Opera – 22/8

– already noted. I almost went again in the hope that I could overcome the obstacle of the lip synching once habituated, but didn’t quite manage it.

8. SSO, Robertson, “New World Memories” 26/8

A very popular concert – the modern work, Mnesomyne’s Pool, by Steve Mackey, cunningly slipped in between Mendelssohn’s Hebrides Overture and Dvořák’s “New World” Symphony. As the title indicates, at least for the cognoscenti, Mackey’s inspiration was the role of memory in music – which is my excuse for some of the associative reminiscences included in this post. I’m afraid I should have had a longer nap in the afternoon to give MP a better hearing. I hope to catch it on the radio or on line later to do it justice.

You can see my stamina and maybe also my narcissism are flagging as these accounts get ever more perfunctory.

I also went to two other concerts this month to turn pages for a friend. That was interesting but cannot really be considered as the same thing as an attendance as an auditor – I am too busy making sure I do not wander away from where it is up to on the page.

Last night to Carriageworks for Sydney Chamber Opera’s production of Britten’s first “chamber opera,” The Rape of Lucretia.

Something was afoot. I was forewarned by Kip Williams’ director’s notes:

The Rape of Lucretia is a foundation myth that tradisionally has been used to perpetuate ideas surrounding the ‘value’ of a republic: namely that men must bind together in order to protect the chastity of their women. At its core, our production asks questions of the ways in which this thinking still exists in our contemporary lives, and what impact this paradigm has had on how we think about gender, power and sex. Ultimately, we are interested in examining this ancient culture in the context of our own, drawing parallels between ideologies and systems of power that permit masculine entitlement, engender the disempowerment of women, and both perpetuate and exonerate acts of sexual assault. This production is an act of illumination and erosion of the exculpatory power of this history.

[….]

One of the challenges in approaching a staging of Britten’s opera is the absence of any critical perspective on the gender politics contained within the world of Rome. By giving our performers contemporary identities as their primary relationship to the audience, we afford them an active critical voice on the politics at play. through them we explore the performative and restrictive nature of gender in the Lucretia myth by fracturing each charater into three parts: the costume, which represents the character, the actor, who performs the character’s actions whilst lipsynching the dialogue, and the singer, who gives voice to the character.

OK. LIPSYNCHING! That artifice of last resort usually called upon when a singer is indisposed. You can get used to that when it is just one singer, but why would you willingly embrace it for the practically the whole cast?

Just to explain a bit more. It is 509BC. Rome is ruled by Etruscan kings. Lucretia is the only virtuous wife of a bunch of Roman aristocrats who are away in military camp – the others all find their wives otherwise engaged when they pop back to check on them. One of the husbands, who is envious of Lucretia’s husband for having such a virtuous wife, goads Tarquinius, Prince of Rome whom no woman can refuse, to just pop back again and see how virtuous she really is – after all, maybe her virtue wasn’t tested/tempted quite enough? T. jumps on his steed, arrives at L’s place in the middle of the night demanding hospitality [interval]. Servants we are told by the narrators (see below) are insolent towards him in a way that only servants can be. (Servants! We all know how they can behave!)

In the night Tarquinius goes to Lucretia’s chamber and rapes her, galloping off to the camp before dawn. Next day Lucretia summons her husband back, tells him what has happens and says – despite his entreaties that it is not her fault – that the punishment for unchastity is death and kills herself. The Roman men vow to rise up against the tyrants, which we all know they did and founded the (scarcely less tyrannous) Roman Republic.

This all comes from Livy (a bit altered and supplemented in some details) save that in the opera a lot of the action is narrated by a male and female chorus, taking primary responsibility for the male and female spheres of action respectively. From the start it is made clear that they are from some later, Christian, era. At the end the female chorus asks if that is all the story and the male replies it’s all fine because it’s given meaning (what meaning exactly is unclear) by Christ’s love. This helpfully provides a bit of a chorale for the finale.

Obviously it’s not a very attractive story from the perspective of modern sexual politics. But can the audience be trusted to work that out for themselves? Apparently not.

Just to explain a bit more: in the first scene (at the camp) the three women singers donned insignia to designate the male characters, who were then sung, puppetteer style, by the respective male singers hovering in the background. In the second scene the process was reversed. And so on until the denouement when the artificae was (mostly) abandoned for more direct dramatic expression.

Various reviewers of the production have tried to find redeeming aspects to the conceit but in my opinion these are even-a-stopped-clock-is-right-twice-a-day sorts of advantages. I found it genuinely confusing at first and also an obstacle to my enjoyment of the music. You have to go along with it at the price of being totally put off so I gradually got used to it in the second scene, though not without moments when I found a “the-king-is-in-the-altogether” spirit surfacing within me.

Maybe if I went again (only $35 so not out of the question) I’d be able to deal with it better.

Of the singers, I was particularly impressed by Andrew Goodwin – not a singer I’ve always been keen on in the past – even if (and this is a response to the work rather than the singer) I found myself sighing just a bit inwardly at some of the more extended passages of aspirated tenor coloratura – BB and PP at it again. (The crucible of light is drowned!) Goodwin gave a bravura account (wrestling a chair as Tarquinius’ steed) of Tarquinius’ rush to Rome. Later, the sinister night rustlings of T’s approach also caught my imagination. Things continued with more drama (as you would expect) in the second half.

The orchestra/instrumental ensemble is placed behind the amphitheatre-ish set, which I think if you were low down on the tiered seating would muffle its sound. Even from where I sat, high enough to overcome this obstacle, the orchestra still seemed a bit distant, especially when it was playing quietly. Many details were scarcely discernible.

The house (general admission) was full (14 rows of 20 seats), including (in a reserved section) some of the great-and-good – Neil A was there with M Vallentine; Richard Mills was also there (it’s a co-production with Victorian Opera) and the man in front of me, fascinatingly, had his Australian Opera program from when they first put it on up the road in Newtown in 1971 (it came back in 1981).

At present Carriageworks also has an exhibition about the 1917 strike (which started at Eveleigh). This includes some large and striking union banners which are on display in the main foyer/hall. I am still trying to work out why in the Australian coats of arms which feature on them, the kangaroo and emu face away from the shield.

There’s not too much to frighten the horses – or the accountants. We have a Mozart festival. (There is also still the Mozart series at Angel Place.) The concert performances of operas have been abandoned. The Carriageworks venture is not slated to continue.

The orchestra’s year in Sydney ends in mid-November to make time for a European tour. That might make the accountants nervous.

A second “Meet the Music” series has been reinstated on Thursday nights – not a repeat of Wednesdays but a selection of other programs. This must be a good thing, though if you take the brochure literally the deal for <30s entails relegation to C reserve unless accompanied by an >30 [>29?] ticket buyer. Can that really be the case for school groups?

There is no Berlioz. Hint: he died in 1869.

Emmanuel Ax headlines the Mozart series. Other pianists I’m looking forward to are Simon Trepceski, Steven Osborne and Benjamin Grosvenor (who has been to Sydney before but not for the SSO) and of course NF (see below). Stephen Hough seems squandered on the Rach/Pag variations and midweek/daytime gigs. Thibaudet plays the S-S “Egyptian” (why does that always make me think of Cardinal Pirelli?) in what should be a particularly beguiling program (Debussy Faun & Sibelius 2)

Anne Sofie van O sings Schubert orchestrated[!] – which I suppose is a way of presenting her in this repertoire in the Concert Hall, coupled with Mahler “10” (D Cooke). (Simone does 6.)

I can resist the special pricing of the other Anne-Sophie despite a symphonic rarity by Kalinnikov.

Edo de W conducts Beethoven 9 – I would have preferred something more adventurous but his return is always welcome.

Speaking of returning former chief conductors, Caetani is back [in Sydney] again and welcome here so far as I’m concerned whatever they feel about him and he about them there. He will channel his Italian side for a change with the Verdi Requiem. Then again, let’s not be complacent: when are we going to hear Stuart Skelton back in his home town? He’s all over almost everywhere else in Australia like a rash (Melbourne next year, anyway.)

Particular highlights for me:

Oboist, François Leleux, whose almost totally unheralded visit here in 2012 made quite a buzz amongst double-reedists, returns for the first of the Angel Pl Mozart series. (How does an oboist pop up on tour in Sydney for just one gig? Possible answer: because he comes with his violinist wife, Lidia Batiashvili.)

Nelson Freire playing Beethoven 5 with Wagner bleeding chunks – a sin I expect I will be able to forgive since committed by Runnicles.

Masaaki Suzuki – this time to conduct a program including Beethoven’s Mass in C – not LvanB’s greatest moment but also not bad, and MS should offer something interesting in that and the Haydn symphony it comes with. Local ladies take vocal solos with some intriguing overseas gents.

When you look forward to a new season it is easy to concentrate on either old favourites or long-anticipated rarities. Not so many of the latter in prospect. Doubtless I’ll strike some surprises next year when it comes. Meanwhile, as pure straightforward enjoyment, I expect the Debussy/Saint-Saens/Sibelius combination will be hard to beat.